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1. Select Color Settings for the output: Newsprint or Slick Mag.

2. Open RGB file in ColorMatch RGB for Newsprint or Slick Mag.

3. Check resolution and Size image.

4. View in the destination color space: View – Proof Setup.

5. Always view in increments of 5: (12.5%, 25% 50% etc.)

6. Open Curves and click on Options. This opens Auto Color.

It is preset for our use. Auto Color will automatically

find highlights, shadows and neutralize midtones in the photo.

If results aren’t desirable, Cancel and use the eyedropper to

manually select highlights, shadows and midtones with ranges:

Shadows: 0 - 64

Midtones: 100 - 156

Highlights: 200 - 255 7. Tone in RGB as much as possible. The color space is larger

and when converted to CMYK a lot of color information is lost.

8. When file is converted to CMYK, the preview will not change.

9. Selective Color in CMKY for global changes. (Select Absolute)

10. Curves for more precise color toning with anchor points.

11. Hue and Saturation to reduce over saturated colors.

12. Unsharp Mask to sharpen all images.

Color conversions from RGB to CMYK

Color Settings: Choose the correct setting for the photo.

Newsprint Due to out of gamut colors in photos and the small newsprint color space, conversions using a perceptual intent provides the best printing quality. Shift-Command–Y (Gamut Warning) preview shows these out-of-gamut colors as gray.

Slick Mag The larger color space of magazine presses allow for fewer out of gamut colors, conversions using a relative intent provides the best printing quality. Shift-Command–Y (Gamut Warning) preview shows these out-of-gamut colors as gray.

Proof Setup: Choose the preview setting for the photo destination.

Shadows - Midtones - Highlights 0 – 64 100-156 200-255

Color – faces Caucasian H M S C 0-3 2-6 5-9 M 7-20 17-23 20-34 Y 10-20 20-25 30-50 K 0-1 0-3 3-6 Black C-8_M-30_Y-40_K-6 Asian C-4_M-25_Y-38_K-2 MidEast C-5_M-31_Y-49_K-10 B&W – faces Highlight 1 – 4K Midtone 10 – 15K Shadow 30 – 50K Darkest 75K

Inverse Colors Cyan Red Mag Green Yellow Blue RGB R + G = Y R + B = M B + G = C R + G + B = W Equal amounts of RGB create a neutral

Unsharp Mask Amount – 200 Radius – 1.0 Threshold – 2.0

Always select a highlight, midtone & shadow in photos.

Auto Color

Setting up Auto Color in Photoshop The Photoshop defaults need to be changed to the below settings.

Monitor calibration should be done regularly to D55 (5500 Kelvin). Lighting should be indirect and consistent low ambient light if possible. Before beginning any Color or Black and White photo toning for newsprint, be sure to have the correct color and black and white profiles loaded and as the Working Color Settings in Photoshop. As you look at the Color photos notice the following: Highlight areas must have at least a 2% dot in order to reproduce detail anything below will not hold and have no dot. Typically minimal Cyan and Black. Midtone areas include a range of 35% to 65% and have the most dot gain (30%). The majority of CMYK should be in a range of 25% to 35% to maximize reproduction detail. Shadow areas must have less than 75% to 80% dot in order to reproduce detail. The majority of CMYK should be in a range of 55% to 75% to maximize reproduction detail.

Newsprint toned samples

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Newsprint toned samples

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Newsprint toned samples

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Newsprint toned samples

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Black and White toning for Newsprint page 1 REMEMBER ALL PHOTOS ARE DIFFERENT - USE THIS AS A GUIDE ONLY

Original photo opened with Quiz 28 gray profile.

First step is to check the levels, notice there is no good white or black in the photo.

Second step is in curves. Determine and Click on the focal point of the photo and see what the percentage is in the curve window.

Third, bump up your shadows to create a good black and contrast when necessary.

This window lets you select the QUIZ 28 gray profile.

Move in the right and left arrows as shown

Bring the focal point down to an acceptable percentage; notice the change to the left.

Any percentage over 75% will print solid black. 1-04

Black and White toning for Newsprint page 2 REMEMBER ALL PHOTOS ARE DIFFERENT - USE THIS AS A GUIDE ONLY

Fourth, the highlights may need to be bumped up to prevent blowing out and additional points add to create smooth tonal transitions and contrast.

Sharpen the photo after the toning is done.

This is the way the original photo would have reproduced without toning, with a 30% dot gain.

A 30% dot gain curve. Notice that between 40% and 60% is where the most gain occurs.

This setting works for many photos, always view at 50%. Increase or decrease the Amount when necessary. Sometimes a photo can’t be sharpened much, or at all.

Always save with Maximum JPEG Quality.

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Newsprint toned samples

As you look at the Black and White photos notice the following: Highlight areas must have at least a 2% dot in order to reproduce detail anything below will not hold and have no dot. The samples show that the highlights were reduced from their original values, but were kept above 2% where detail needed to be preserved. Midtone areas include a range of 35% to 65% and have the most dot gain (30%). The samples show that the midtones were reduced 30% from their original values to compensate for dot gain. Shadow areas must have less than 75% to 80% dot in order to reproduce detail anything above will print as black. The samples show that the shadows were reduced to 75% from their original values where detail needed to be preserved.

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Newsprint toned samples

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UNSHARP MASK IN PHOTOSHOP

AMOUNT adjusts the intensity of the sharpened halo. The higher the Amount, the more the pixels are driven to pure white or solid black. Amount has no effect on the width of the halos, just the amount of contrast they contain. Start with 200 – 400 RADIUS sets the width of the halo that the filter creates around edges. The wider the halo, the move obvious the sharpening effect. Note that a Radius of 1.0 does not result in a single pixel radius. It is often four to six pixels wide for the whole light and dark cycle. Start with .05 – 1.0 THRESHOLD specifies how far apart two pixels’ tonal values have to be before the filter affects them. Example if Threshold is at 3, and two adjacent pixels have values of 122 and 124 (a difference of two), they’re unaffected. Start with 0 – 4

One on the most important concepts to understand about sharpening is that the three values you can set in the Unsharpen Mask dialog box are all interrelated. For instance, as you increase the Radius setting, you generally need to decrease Amount to keep the apparent sharpness constant. Similarly, at higher Radius settings, you can use much higher Threshold values; this smooths out unwanted sharpening of fine texture, while still applying a good deal of sharpness to well-defined edges.*

Click off Preview to see original image without sharpening filter. Use this to help determine the level of sharpening for the image.

3-04 * Real World Adobe Photoshop 7 by David Blatner and Bruce Fraiser, copy write 2003 Peachpit Press

SIMPLE SEPIA-TONE

Here’s a quick and simple way to create a sepia-tone from a RGB or BW image. For an RGB image, leave it RGB. For a grayscale image, first convert it to RGB. Then use Hue/Saturation and turn on the Colorize checkbox. For a warm sepia-tone try setting: Hue around 50 Saturation between 25 and 30 Lightness to 0 For normal color work, you must leave the Colorize box unchecked.

Check Colorize box

11-04 * Real World Adobe Photoshop 7 by David Blatner and Bruce Fraiser, copy write 2003 Peachpit Press